LA Frenchies’ “Velvet” was one of two works interpreted by biologist/artist Daniel Meinhardt.
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LA Frenchies’ “Velvet” was one of two works interpreted by biologist/artist Daniel Meinhardt.
Mike Walsh’s “Fragility” was one of two works interpreted by painter Leah Reynolds.
Miguel Bevilacqua’s “March” was one of two works interpreted by poet Jan Freeman.
Arthur C. Lee’s “The Moon and Me” was one of two works interpreted by visual artist Nancy Kay Turner.
Mohamed Assani’s untitled piece was one of three works interpreted by visual artist Kayla Cloonan.
Sparkbird’s “The Light That Comes Through” was one of two works interpreted by collage artist Kim Triedman.
Arlea Forbes-Prater’s “Andy” was one of two works interpreted by visual artist Lauren Blankstein.
Green Light Cameras’ “All That Remains” was one of two works interpreted by visual artist Henry Simonds.
Gina Bonati’s “Windblown” was one of two works interpreted by visual artist Kate Temple.
Sebastian A. Bach’s “redrigrednu” was one of two works interpreted by painter Amanda Shears.
I must also say, for the record, that Mr. Bach took on the daunting task of mastering the 80 tracks that comprise Ball of Wax 64 (i.e., he’s the reason you’re not running for your volume settings with each new track as you listen through). As such, I am officially declaring him a Ball of Wax Hero, which is a thing I just invented but that doesn’t make it any less of an honor. (Seriously, dude, thank you.)